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Full text of "A collection of the vocal music in Shakespear's plays : including the whole of the songs, duetts, glees, choruses, &c. Engraved from original ms & early printed copies, chiefly from the collection fo W. Kitchiner ... Rev. & arranged with an accompaniment for the piano forte, by Mr. Addison, & most respectfully dedicated to the Hon. Mrs. George Wrottesley. By John Caulfield"

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Digitized by the Internet Archive 
in 2016 with funding from 
Boston Public Library 


https://archive.org/details/collectionofvoca01caul 

/ 


A COLLECTION 


OP THE 

SDnrnl Mnm in Ijateprrt ^lap 

INCLUDING THE WHOLE OF THE 

SONGS, DUETTS, GLEES, CHORUSES, Ac., 

ENGRAVED FROM ORIGINAL MS. AND EARLY PRINTED COPIES, 


CHIEFLY FROM THE COLLECTION OF 


W. KITCHINER, ESQ., M.D., 


REVISED AND ARRANGED WITH AN ACCOMPANIMENT FOR THE PIANOFORTE, 


Mr. ADDISON, 


AND MOST RESPECTFULLY DEDICATED TO THE 


IION. Mrs. GEORGE WROTTESLEY, 


JOHN CAULFIELD. 


London ! . ,. 4 

SAMUEL U 14 i: N ('ll, 

PUBLISHER, 

8 9, STRAND. 


’ A } \ « New York : 

SATVlUEL FRENCH & SON 

PUBLISHERS, 

122, NASSAU STREET. h j y 


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PREFACE. 


The fascinating words of Shakespeare have raised a kindred spirit 
in the minds of various great Composers of Music, who have so 
worthily emulated the sublimity of the great Poet, that we are 
lost in admiration of the mutual harmony created i p. our minds 
between them ; and almost run into a confused idea, whether the 
words may not have been adapted to the Music ! 

But besides the Plays that require elaborate compositions, 
and which, as such, have been taken as texts by Purcell, Dr. 
Arne, Mendelssohn, Stevens, Matthew Lock, Charles E. Horn, 
Sir H. R. Bishop, and other celebrated musicians, there are to 
be found dispersed in various Plays short passages in verse that 
manifestly require to be sung : — these, snatches as it were, are 
left to the discretion of the Performer or Manager; — but from 
time immemorial fine old melodies, eminently adapted to each 
occasion, have been adopted, but were never before collected or 
published. 

Numerous enquiries were made of the compiler of this work 
for the music that was sung in so captivating a manner by 
Mrs. Jordan, as Ophelia. 

It was traditional, but never published ; and under those 
circumstances he was induced to endeavour to write out the 
melodies by the ear — which Mrs. Jordan herself was kind 
enough to listen to, arid approve, — when with the addition of 
a bass by Dr. Arnold it was published, and met with a success 
that led to the idea of compiling all the similar adaptations, witli 
the rest of the music of Shakespeare/s Plays : — materials were 
v gerly sought for, and the aid of the leading eminent Performers 
of that period solicited, for these extra passages, and in all cases 
freely given. £4/ U 







































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INDEX 


VOCAL MUSIC OF SHAKESPEARE'S PLAYS. 


“ Thou soft flowing Avon 7 ’ ... ... ... Dr. Arne. 


I.— ANTONY AND CLEOPATRA. 

“Come, thou Monarch of the Vine” ... ... Purcell. 


II. — AS YOU LIKE IT. 

'“‘1. — u Under the greenwood tree” 
n— 2.— “ Blow, blow, thou winter’s wind” 

—^3. — u What shall he have that killed the deer?” ... 

<>■■■ .>4. — ( L When daisies pied” 

5. — u It was a lover and his lass” 

6. — “ Then is there mirth in Heaven ?” 


Dr. Arne. 

Stafford Smith. 
Dr. Arne. 

R. T. S. Stevens. 
Dr. Arne. 


III.— CYMBELINE. 

1. — “ Hark, hark, the lark” ... ... ... Stevens. 

K 2. — “ Fear no more the heat of sun” .. ... Weldon. 

IV.— HAMLET. 

1. — “ How should I your true love know ?” ... ... Traditional . 

2. — “ He is dead and gone, lady” ... ... „ 

3. — “ White his shroud as mountain snow” ... ... „ 

4. — “ Larded with sweet flowers” ... ... „ 

5. — “Good morrow, ’tis Saint Valentine’s Day” ... „ 

6. — “ They bore him bare-faced on the bier” ... „ 

7. — “ For bonny sweet Robin” ... ... ... „ 

8. — “ And will he come again ?” ... ... ... „ 

9. — “ In youth when I did love” ... ... ... „ 

V. HENRY THE FOURTH, Part 2. 

“ Do nothing but eat” ... ... ... Unknown. 


INDEX TO VOCAL MUSIC OF SHAKESPEARE’S PLAYS. 


6 


VI.— HENRY THE EIGHTH. 


“ Orpheus with his lute” 

... Pur sell. 

VII.— KING LEAR. 

1. — u Fools had ne’er less grace in a year” 

. Traditional. 

2. — “ Then they for sudden joy did weep” 

... ,, 

3. — “ He that keeps nor crust nor crumb” ... 

• n 

4. — u The hedge sparrow fed the cuckoo” 

... ,, 

5. — “ Fathers that wear rags” 

* n 

6. — “ That, sir, which serves and seeks for gain” 

... ,, 

VIII.— LOVE’S LABOUR’S 

LOST. 

1 . — u Oh, a day ! alack the day” 

Dr. Arne. 

2 . — u When icicles hang on the wall” 

S. Smith. 

IX.— MACBETH. 

1. — “Introduction” 

. Matthew Locke. 


2. — “ Speak, sister, speak” ... ' ... .. ... „ 

3. — ■“ He must, he will, he shall” ... ... „ 

4. — u Now let’s dance” ... ... ... ... , 7 

5. — “ At the night raven’s” ... ... ... v 

6. — “ Hecate, Hecate, come away !” ... ... ... „ 

7. — “ With new fall ’n dew” ... ... ... „ 

8. — “ Black spirits and white” ... ... ... „ 

9. — a Tiffin, Tiffin” „ 

10. — u Around, around about” ... ... ... 

X. — MEASURE FOR MEASURE. 

“ Take, O take, those lips away” ... ... Weldon. 

XI. — MERCHANT OF VENICE. 

1. — “ Tell me where is Fancy bred?” ... ... ... Sir John Stevenson. 

2. — u Haste, Lorenzo” ... ... ... ... Calcott. 

3. — u My bliss too long” ... ... ... ... Unknown. 

4. - — u To keep my gentle Jessy” ... ... Arnold. 

5. — u 0 happy fair” ... ... ... ... W. Shield. 

XII.— MERRY WIVES OF WINDSOR. 

1. — “ To shallow rivers, to whose falls” ... ... Unknown. 

2. —“ Fie on sinful fantasy !” ... ... ... Addison . 


/ 


INDEX TO YOCAL MUSIC OF SHAKESPEARE’S PLAYS. 


7 


XIII.— MIDSUMMER NIGHT’S DREAM. 


1 .- 

2.- 

3. - 

4. - 

5. - 

6 . - 

7. - 

8 . - 

9.- 

10 .- 

11 .- 

12 .- 

13, 

14, 

15, 

6 , 

.7, 

18, 

19, 

20 , 
21 . 
22 , 

23, 

24, 

25, 

26, 
27. 


-Air, “ By the simplicity of Venus’ doves” 

-Air, u 0 happy fair” 

-Air, “ Over hill, over dale” 

-Fairy Music 
-Fairy March ... 

-Recit : “ That very time I saw,” and Air, u Love in idleness” 


Sir H. It. Bishop . 
« 

T. CooJce. 
Mendelssohn. 


-Duet, “I know a bank” ... 

-Introduction. Sc. 2. Act II. ... 

-Glee, “ Ye spotted snakes” 

-Incantation, &c. Sc. 2. Act II. 

-Incantation, u What thou seest” 

-Interlude and remainder of Music to Act II. 

The Ousel Cock” ... 

-Music to Act III. 

— Air, “Flower of this purple dye” 

— Fairy Music to end of Act III. 

— Recit : “ Lo ! Night’s swift dragons,” and Air, “ But we are 
Spirits” 

— Air, “ Spirit, lead them up and down” 

— Air, “ On the ground” 

— Air, “ Be as thou wast wont to be” 

— Trio, u Fairy King” 

— Music to Act IV. 

— Wedding March. 

— Music to Sc. 1. Act V. 

— Solo and Chorus : “ To the best bride bed,” and 
— “ In Theseus’ House” ... 

—Finale, “ Puck” 


C. E. Horn. 
Mendelssohn . 
Stevens. 
Mendelssohn. 


Mendelssohn. 
Traditional. 
Mendelssohn. 
Smith. 
Mendelssohn . 


Battishill. 


Mendelssohn. 


Sir H. It. Bishop. 


XIV.— MUCH ADO ABOUT NOTHING. 


1. — “ Sigh no more, ladies” 

2. — “ Ditto,” as a Glee 

3. — “ Pardon, Goddess of the Night.” 


It. T. S. Stevens , 


Dr. Arne. 


XV.— OTHELLO. 


1. — u lago’s Songs” 

2. — u Willow” 


Ancient. 


8 


INDEX TO VOCAL MUSIC OF SHAKESPEARE’S PLAYS. 


XVI. — ROMEO AND JULIET. 


Dirge (as at Drury Lane) 

... 

Bishop . 

XVII.— TEMPEST. 


1. — 11 Come unto these yellow sands” ... 

... ... 

II. Purcell. 

2. — u Full fathom five” 

. . . 

» 

3. — u No more dams I’ll make for fish” 

... 

J. Smith. 

4. — u Where the bee sucks” 

. . . 

Dr. Arne. 

5. — u Flout ’em and scout ’em” 

. . 

Purcell. 

6. — “ Stephano’s Songs” 

... 

Traditional . 

7. — a While you here do sleeping lie” 

... 

?> 

8. — a 0 bid your faithful Ariel fly” 

. . . 

Stevens. 

9 . — u Honour, riches, marriage blessing” 

... 

T. Cooke. 

10. — u Where the bee sucks,” harmonized by Jackson 

Dr. Arne. 

XVIII.— TWELFTH 

NIGHT. 


1. — “ 0 mistress mine” 

... ... 

Addison . 

2. — u Hold thy peace” 

... 

Traditional. 

3. — u Which is the properest day to drink” 

... 

Dr. Arne. 

4. — u Tilly valley, lady,” and sequence 

... 

Traditional. 

5. — u Come away, Death” 

... 

Dr. Arne. 

6. — u Hey Eobin, jolly Kobin” 

. . . 

Traditional. 

7. — u Epilogue Song” 

... 


XIX.— TWO GENTLEMEN OF VERONA. 

u Who is Silvia? What is she?” 

... 

Dr. Arne. 

XX.— WINTER’S 

TALE. 


1. — u When daffodils begin to peer” ... 

... ... 

Traditional. 

2. — “ But shall I go mourn for that, my dear” 

... 

n 

3. — “ Jog on, jog on” 

.. 

if 

4. — u Lawn as white as driven snow” 

. . . 

ff 

5. — u Will you buy any tape?” 

... 

ff 

6. — u Get you hence” ... ... ... 

... 

Dr. Boyce. 




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89. STRA N D. LONDON ,YV.C. 



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YS YOU LIKE IT. 


Two of the songs in this charming Play are set by Dr. Arne. Of 
both these pieces he has omitted to notice some of the words, a circum- 
stance greatly to be regretted and difficult to be accounted for. The 
first song, “ Under the Greenwood Tree ,” is followed by a chorus, 
“ Who doth Ambition shun .” Mr. Linley has supplied Arne’s omission 
and adhered very closely to his original conception in the introductory 
air, as he has also done to the quick movement of the second song, 
“ Blow, blow, thou Winter wind” than which a more exquisitely tender 
and elegant melody, or one more expressive of the poet’s sentiment was 
never imagined. These judicious additions to Arne’s melody are 
both inserted. 


Mr. Steevens has been eminently successful in his glee to the 
words, “ It ivas a Lover and his Lass” the words of which appear to 
have been incorrectly given in the folio of 1623 ; they are here 
corrected from a quarto MS. in the Advocate’s Library, Edinburgh: 
it contains about thirty-four songs with words, and sixteen song 
and dance tunes. The latter part of the manuscript, which bears 
the name of a former proprietor, “ William Stirling,” and the date 
“ May 1639,” consists of Psalm tunes, evidently in the same hand- 
writing, and written about the same time as the earlier portions. The 
inaccuracies in the folio, which have given much trouble to Com- 
mentators, are not to be found in this manuscript. In the printed 
copy, the last verse stands in the place of the second. This was 
observed and remedied by Dr. Therlby, and the words “ ring time,” 
then rendered “rang time,” and by Commentators altered to rank time, 
were first restored to the proper meaning by Steevens, who explains 
them as signifying the attest season for marriage. 


Stafford Smith’s glee of “ What shall lie have that killed the Veer” 
is admirably expressed and deservedly popular. 




733 


TODIE T3H3E TMWE . 

Comp’osd bj Dl* ARN-&. — — 

Act 2 ^ Scm 5. 



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When daisies pied, and violets hlue^ 

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THOMA$ HAILES LAE Y* 



89, ST 8 A A/D, L ON D ON, W. C. 







































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9 
































_ 















Act 2 . Scene 3* 


69 


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71 



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77 




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78 



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79 





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TH<>MA$ HAILES LACY* 


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////* 


WJ6&, 


89, STRA N D, LONDON \W.C. 





H AML E T. 

The wild and pathetic airs of Ophelia were collected and published 
by W. Linley (brother of Mrs. Sheridan,) as he remembered them to have 
been repeatedly sung by Miss Field, of Drury Lane Theatre, afterwards Mrs. 
Foster (she died 1789) ; and he says, “ the impression remained too strong 
“ on his mind to make him doubt the correctness of the airs agreeably to 
“ her delivery of them.” 

Dr. Arnold also noted them down from Mrs. Jordan's voice, and Mr. 
Ayrton has followed that version in Knight's Pictorial Shakespeare. The 
notes are the same in both, but in the former it is in £ time, in the latter 
common time. The melody is printed in common time in The Beggar's Opera 
(1728) to “ You'll think e'er many days ensue” — and in tho Generous 
Freemason (1781). 

M To-morrow it is St. Valentine's Bay” is to be found in several ballad 
Operas, such as The Gobbler's Opera (1729), The Quaker's Opera (1728), &c.; 
also under this name, in Bills to Burge Melancholy (1707) vol. 2, p. 44, and in 
Heywood’s Rape of Lucrece , beginning “ Arise, arise , my juggy , my puggy .” 
Other versions will be found under the names of “ Who list to lead a Soldier's 
life” and a Lord Thomas and Fair Fllinor .” 

“ My Robin is to the Greenwood gone” or “ Bonny sweet Robin.” This 
is contained in Anthony Holborne's Citharn Schoole (1597), in Queen Elizabeth’s 
Virginal Book, in William Ballets Lute Book, and in other manuscripts and 
printed works. 

There are two copies in William Ballet’s Lute Book, and the second is 
entitled “ Robin Hood is to the green-wood gone'' It is, therefore, probably 
the tune of a ballad of Robin Hood, now lost, — Ophelia sings a line of it — 

“ For bonny sweet Robin is all my joy.’* 

In Peele’s Edward I. (1593), we find, enter a harper and sings to the 
tune, “ Who list to lead a Soldier's life.” There is also in the Roxburgh's 
ballads, a song of “ The Life and Death of King Richard III , who, after 
many murders committed by him , was slain at Bosworth by Henry VII. King 

of England” beginning — 

“ In England once there reigned a King, 

A tyrant fierce, and fell,” — 

these are only different versions of the same air. 

Dr. Percy selected some of the fragments of ancient ballads which 
were dispersed through Shakespeare’s Plays, and especially those sung 
by Ophelia, and connected them by a few supplemental stanzas into 
his charming ballad, “ The Friar of Orders Gray ” (made into a splendid 
glee by Dr. Callcott), the first lino of which is taken from that sung by 
Pctruchio in The Taming of the Shrew. 




* 


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. 







Act - . SruNt 5. 

O P HELTA 

V/here is the beauteous majesty of Denmark? 
QCEEH How n o v ; Ophelia? 




Usually sung- Ad libitum without an Aeon n.pani riant . 



84 


HAMLET 


Q i E E Hf 

AlaSj sweet iady^what imports this ■ o n jp 
O P H ELI A 

Say you? nay pray you, mark. 







HAMLET 


8 5 


QTEIN Nay, hut Ophelia,, 

OPHELIA — Pray you, mark. 


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Enter KING 


Q E E E ’N Alas, look brre ; my lord. 



86 


H A V L F, T 


OPFEll A 


Pray,, 1 e t us bare no words of t h is r but 
when they ask you what it mean Sj * ay you this! 





King. Pretty Ophelia. 

Ophelia. Indeed, la ! without an oatli, Til male an end 
orCt. 

2ni? Vehse. 

Then up he rose, aind don’d his clothes, 

And dupp’d the/ chamber door ; 

Let in a maid, thht out a maid 
Never departed more. 



hamlet 


87 


LAERTES 

Nature is fine iA Iotp: and where ^ti* f ine , 
It sends some preoiou.s instance of itself 
After the thing - it lores. 



OPHELIA 


There's a daisy; L would gir« you some riolets* 
hut they withered allj when my father died*. * 
They say^he made a g-ood end. 



88 


II A V l f T 


Thnnirht 

turns to f, r „ur h " " 

n'-f » nd ♦« pretti„,. ss . 



n AM LF-T 


89 





grave diggers song 

Act 5. Scene 1. 


{■ 


Go , g 1 et thee to 
me a stoup of 


Y a n h n , and 
\ i q ti o r . 


fetch 



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H A M L F T 


91 


Hamlet Did these bones cost no more the breeding jhut» to 

play- at logi^at^ with them“l mine ache to think 

oWi. 






I) i t to 


92 


P A M T, F T 


fnmlot, Was tbi* fpllow no feplin# of* bis biisinp\s^ 

bo sinjfsuHt gX-ave making-* 

Horatio*. .* Custom bafb it in Mm a proportjr of nasinoss. 

Hamtpt, 1 T 1 s p^p n so; tbp band of littlp pmploymont 




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TH4MA$ HAlt£$ LACY* 


7 / / / 


X //.;// 


89, ST 8 A N D, L OND ON, W. C. 




103 




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SILENCE 




make yood cheer And prai«?<* hoaren for thi 


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104 


HENRY TV- PART TI. 


mer_ry g*ood year When .flesh is cheap and 



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H IE TV It Y TV. PART II 


105 


C HORT3 s 




fi T? TV R Y I V ? A FT IT 


10 6 





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in or ry good year the 
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merry 

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^yrar oh then c 

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the 





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merry the merry ^ 

fond year. 

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merry the merry good year. 

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merry the merry good 

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year 

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THOMAS HAttE$ l*AiY« 



89. ST R A ND, LONDON.W.C 





ANDANTE 


A.C T 3 * § CE Bf E 1 . 





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HENRY THE EIGHTH 


108 





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HENRY THE EIGHTH 


109 




HENRY THE EIGHTH 






henry the eighth 


in 







/ 


HE-NRV the eighth 



There - _ had made a last « 







114 


HENRY the 


£ IGHTH 



Every thing that heard him Play, 
Evn the Billows of the Sea , 

Hang their Heads and then lay by, 
° u svee * Music is such art. 
Killing care, and grief of Heart, 
Pall asleep J or hearing die. 


/ 




THO-MA$ HAILES LALY 


// 




y/y /- 


' £ ^ 


YYY/f/Y/y 


yyyy/..//y 


89, STRA N D, LONDON, W.C 





03 



FOOL 


Thou had s t little wit in thy bald crown when thou 
/Tarst thy golden one away^ if I speak Tike niys*lf 
in this^let him he whipp’d that first finds it so. 



KING LEAR 




S) 4 


K L N G . 

Whew were you wont to ht so full of SiOn^Er Sirrah? 
FOOL . 

I have use(J if, nonole, ever since thou 
madest thy daughters thy mother-' 




with regret ad lih: 


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play ho_pee^. And 

S‘ 

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> the fools a_Tnong*. 

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K l y G LEAF 


95 


/Thnu art an O without a figure.J^am 
] better .than thou art now; 1. am a fool, 
FOOL yhou art nothing-, T es 7 forsooth i will hold 
j.my tongue* s o your face - (To Gon.j hicks me 
\t ho ugh. you say nothing, iUum^.mum, ■ 


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slfiwcr. and with feeling- 


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96 


KING 


LEAR 


Act I. 


CENF, 


TOOT. 

Tot you tr.ow, nuncle 



-J A. ^ I J . J 5 


the hedg'e sparrow fed 


f 


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the 






slower and with 


rf *■ f f fiT. fr m . . 

i=be 

cue 

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s <> lohg" That it ha,d its head hit 

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KI?nG LEAR 


97 


Act 2 . Sc'm 4. 

FOOL 

Winter-** not g-one yet^if the wild geese 
fly that wiy, 




5 


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1 


h * g- s ahull see their children kind 


W j 1 1 1 fH 


& 




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98 


KING LEAK 




FOOL 


f ^V^ben wise man g’ircs 
< give .m e mine a^ aitf : 
VJkuaTes follow itisin^e 


thee better cou*>cel S 
I wonld hare no.ne but 
a fo ol g ire r it.. 


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THOMA$ HAU*£$ t A€Y , 



<9.9, iT/M /V£, L ON D ON, W. C. 



Composed by DFArne. 


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Arranged by J. Addison 






LOVES LABOURS LOST 


162 


e _ _ ver may 

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iOVE.S LABOVRSLOST 


163 






leaves the wind 


All un - seen fan pas _ _ sage 




Thai the Lo _ _ ver sick to death 

r*r 

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1 64 


LOVES LABOURS LOST 

Act. 4. — . Scene. 3. 

ON A DAY ALACK THE HAY 1 


On a day,(alack the day !) 

Love, whose month is ever May, 
Spied a blossom , passing fair. 
Playing in the wanton air; 

Through the velvet leaves the wind. 
All unseen,’gan passage find; 

That the lover, sick to death, 

>Vishd himself the heavens breath. 


Air, quoth he, thy cheeks may blow ^ 
Air, would I might triumph so! 

But alack, my hand is sworn. 

Ne’er to pluck: thee from thy thorn: 

Thou for whom e’en Jove w T Ould swear, 
Juno but an Ethiope wrere; 

And deny himself for Jove, 

Turning mortal for thy love • 


/ 


— 165 




LOVES LABOtJS LOST 


j 


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Tom tears logs in _ - to the Hall And milt comes fro_zen 

" N J . A 




S=T 




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Crabs come hissing in the bowl Then night-ly sings the 



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staring owl 

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Then night - lj sings the 


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££3 


167 


LOV2S LABOURS LOST 







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'While* greaZJ" Joan 




greazj Joan "W h i le greaz^ Joan doth 

' iA 




f f-E- ' T 




m 






168 


love’s labotjbs lost 


WHEN ICICLES HANG ON THE W ALL 


When Icicles hang on the Wall, 

And Dick the shepherd blows his nail. 
And Tom hears logs into the hall. 

And milk comes frozen home m pail. 
When roasted crabs hiss in the bowl. 
Then nightly sings the staring owl, 

To who; 

Tu whit, to who, a merry note. 

While greazy Joan doth keel the pot. 


2 


When all aloud the wind doth blow 
And coughing drowns the parsons saw 
And birds sit brooding in the snow 
And Marians nose l^oks red and raw 
When blood is nipp’d,and ways be fowl. 
Then nightly sings the staring owl. 

To who; 

Tu whit, to who, a merry note. 

While greasy Joan doth keel the pot. 



THOMAS HAILES LA€Y» 


///'//. ,/ , 


/ / 


V/Y/Y/Y/YY 


// 

X//.J/S 


89, STRA N D, L ONDON.W. C 





1 



lEactatf) . 

BY 


HI ATT HI EH 





o 


W A C BET H 



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M A C) B E T R 


3 




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but .following 1 following* o,rimos following crimes on 

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found 


propa - ga -tion too 








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and be-come 

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and lie-come 

worse become 


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6 ( HORIJS. 


M A r B K T H 




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M A ( B K T H 


7 




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will ho Mill he shall spill much more Blood, 
— m m — — ^ ^ — ■— — ^ 






will he will he shall spill much more Blood , 

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will he will he shall spill much more Blood, 

il 


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will he will he shall spill much more Blood , 


pi Ein 4-i-d^ 


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M A C B ET H 



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HACBET H 


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solo 


ADAGIO 



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Now lets Dance 


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Full Chorus 




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We should re-joice when good Kings bleed re 




H — *1 I °l 


We should re-joice when good Kings bleed 

fr- C | . rU -'M J I af- 


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We should re.joice when good Kings bleed 


B-,_J i 

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^ e should re-joice when good Kings bleed 


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MACBETH 




r 


MACBETH 


11 




MACBETH 







re _ joice 


re _ joice 


?- L m- m 


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re 


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re _ joice _ _ 




o—±- 


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MACBETH 




14 

V SOLO 


M A.CB tT H 



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"VOieiS 

Fifr I''" 

winds 

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waves 

are warring 

Earth 

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Motmtains tearing and Monarchs die despairing what should we 



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^ Lets have a dance up - - on the Heath we 



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Cats we shew 

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having no mu - sic hut our mew To 


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M A C B E T H 


17 






stone or wlieel r l'o some old saw or bardish xhime 'Where 


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still the Mill - clack 

does keep time . 

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CHORUS 


fe~ ■ f -] 

if. r~ f r =^=1 

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sJ Where 

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still the Mill - clack 

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does keep time, 

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W here 

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Where 

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still the Mill - clack 

— e j f S| j — 

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does keep time • 

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does keep time* 

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18 


MACBETH 





r 


MACBETH 


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CHORUS 


$ 


t 


of our feet. Vfe dance to the Ec-choes of our feet* 


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yfe dance to the Ec-choes of our feet 


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yfe dance to the Ec-choes of our feet 




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adagio 



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MACBET H . 


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11 sew -r ; - i Mr r -iim ? 



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o - _ iters irom _ «. ble wo re _ joice , And 






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o _ - thors bom . -ble we re -joice , And 


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22 


M ACB ETH 




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MACBETH 


REC1T 


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Hecate Hecate Hecate come a . w 


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Hopper too ,anrt Hell way too ? we want hut yon /we want hut yon 



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MACBETH 


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MACBETH 


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34 



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MACBETH 


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MACBETH 


37 


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Black Spirits and 





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42 



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44 


M A C BETH 



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Hecate 


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MACBETH 





THOMAS HAILES L A€ Y * 



89, ST 8 A ND, LONDON, W.C. 





157 




Composed "by Weldon 




Act 4 


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Arranged by J. Addison 

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sweet _ _ __ - ly are forsworn And those Eyes the 


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MF A ST RE- FOR MEASURE. 



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of day Lights that do mis_ 



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MEASURE FOR MEASURE 


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159 


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bring bring bring bring bring 



But my kis_ses i 

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♦* 


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/ 



MERCHANT of VENICE. 



THOMAS HAILES LAE Y. 






//. 


//.J'S 


99. STRA A/D. L ONDON.W. C 








'WFRCHAVT OF VI 1VICF. 


9 S 


'where 

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MUriUVT OF VENICE 


.99 




100 MERCHANT O? VlMCI 


gy. 

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107 


TELL ME WHERE IS EAECY BRED 


— — C u m p u s e d b v - 
SIR JJOTTN STIVESOX 



Tell me Tell me 




m f. ti c iu\t ot vixci 


102 




MERCHANT of VENICE 


103 



104 


" E I! r H A NT OF V E M C'E 



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105 



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LOG 


merchant of vf.mcf. 



/ 


ME RC'IIAXT OF VEMCF. 


107 




108 


MERCHANT OF VENICE 




/ 


me k chant of vf.mce 


109 




gfcir 


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Ill 



Haste LO.REN.ZO> husie away > To 



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I-_ shall die , Come and ease - thy JES. SYS care 




112 


merchant of Venice 



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MERCHANT OF VENICE 

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then in van . ton play, sigh, and gaze- 



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